The New York Times has a nice overview article on a new literary festival launching in Paris later this week, and run in part by Caro Llewellyn who directed the PEN World Voices Festival a few years back:
Paris is reaching out to recapture its place as a center of literature with a new festival of international writers that was set to begin Friday.
“There’s a sense in America that France is a country of culture, but when you are looking from the inside, a lot of people have been complaining that France needs to find its beating heart again,” said Lila Azam Zanganeh, a French-Iranian writer who now lives in New York and is one of the writers participating in the festival, Écrivains du Monde. [. . .]
The Écrivains du Monde festival may not, on its own, recreate the vibrant sense of literary experimentation and adventure of the first half of the 20th century, when Paris was home to the likes of Gertrude Stein, James Joyce, Samuel Beckett and Eugene Ionesco, but it marks a new appreciation of the primacy of international writing, in a country that despite a complex relationship with outsiders, has always embraced their contribution to the arts. [. . .]
The inaugural festival draws together some 28 writers from at least 18 countries. Most are not French themselves, but they have been translated into French and have a French following. The authors, who are speaking for small stipends, include some of the best-known fiction writers at work today: Salman Rushdie, John Banville, Richard Ford, Chimamanda Ngozi Adichie, David Grossman, Ma Jian and Michael Ondaatje. Also attending are several authors who write in French although not all of them are from France, including two from Lebanon and a Canadian-Haitian. The writers, who are coming for three days to Paris, with a few going on to spend two days in Lyon on Sept. 23 and 24, will hold intimate — and sometimes not so intimate — talks with their readers and literary enthusiasts. Panel discussions will take on topics like the challenges of translation, identity and conflict, literature and war.
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .
To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .
After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .
Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .